Anti-authoritarian revolt by musical means on both sides of the Berlin Wall

Kutschke, Beate

doi:10.1017/cbo9781139051682.012

Cited by 2 publications

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“…As Beate Kutschke has documented, during the 'period of "1968"', which in fact lasted from the end of the 1950s to the middle of the 1970s, student and protest movements with an anti-authoritarian impetus stimulated composers, performers, and music students to contribute to New Leftist goals by counteracting authoritarian institutions involved in music production and management. 49 Yet in reflecting on the period of the late 1960s, he would later describe being troubled by what he described as a new, pseudo-radicalism, which puts the concept of the musical work in question in a mannerist, iconoclastic manner . .…”

Section: Subsequent Self-reflectionmentioning

confidence: 99%

Lachenmann's Silent Voices (and the Speechless Echoes of Nono and Stockhausen)

Leipert¹

2019

Twentieth-Century Music

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In order to assess Helmut Lachenmann's characterization of (his) music as an ‘existential experience’ this article focuses on a specific aspect of many of his compositions: stretches of near-silence and minimized musical activity such as reduced dynamics and gestures which contrasts the surrounding material. I argue that in the case of his early vocal compositions Consolation I and II (1967 and 1968) these ‘meta-musical fermatas’ relate to a key portion of each work's text in order to encourage self-reflection on the part of the listener. My analyses reveal the influence of Luigi Nono and Karlheinz Stockhausen, particularly in terms of word-setting and of the works’ spiritual and political messages. I further trace the changes undertaken in these compositions and in Lachenmann's commentaries for them over the following decade. I suggest these changes relate to political events in Germany occurring between 1968 and 1977 which also led to the conception of Lachenmann's ‘music with images’, Das Mädchen mit den Schwefelhölzern.

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Section: Subsequent Self-reflectionmentioning

confidence: 99%